The New York Times' Scores

For 9,703 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Duchess of Langeais
Lowest review score: 0 King's Ransom
Score distribution:
9,703 movie reviews
  1. The emotional impact of Shark Skin Man is negligible.
  2. Even fans of open-wheel racing, the high-speed, high-stress pastime that is the subject of Renny Harlin's hectic new film, may walk away from it more logy than exhilarated.
  3. Quickly curdles into a nasty variation of the one-last-score genre.
  4. Proves that a movie about goodness is not the same thing as a good movie.
  5. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  6. Pallid compared with the flaming id of television's "Will and Grace," the happy swizzle stick Jack, who's all appetites. When series television is more entertaining than a series of short independent films, that's something to worry about.
  7. Tacky and disposable.
  8. Only adds to the sense that Mr. Konchalovsky has lost his artistic moorings. He has certainly lost his common sense.
  9. The cinematographer-turned-director likes his MTV-style editing so much that in his drive for hyperkinetic overkill he sacrifices coherence to wallow in barely contained chaos.
  10. The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.
  11. A leaden, skimpily plotted space-age Outward Bound adventure with vague allegorical aspirations that remain entirely unrealized.
  12. The film's only bright idea is a duo named Chain Saw (Cameron) and Dave (Riley), who love horror films and instigate grisly but imaginative practical jokes, like pretending to be attacked by bunnies when the class makes a field trip to a petting zoo. [22 July 1987, p.C22]
    • The New York Times
  13. Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
  14. Flagrantly old-fashioned, triple-hankie tear-jerker.
  15. The most indolent waste of screen time since Andy Warhol's marathon shot of the Empire State Building.
  16. This tirelessly violent, ultimately exhausting film has the utter sincerity of all good science fiction, and a lot more flair than most, but it suffers from a certain confusion of purpose. In the end, it amounts to quite the pistol-packing plea for peace.
  17. Sitting through the lavish and dumb action spectacular Lara Croft: Tomb Raider is about as much fun as watching someone else play a video game.
  18. So preoccupied with delivering its effects that it doesn't bother to make sense of its story.
  19. The screenplay never begins to finds a workable balance between wit and adventure. And the performances in several smaller roles are so mechanical that they lend Kill Me Later the tone of a vanity production.
  20. Tries to show it has its heart in the right place, but it's such a crude undertaking that it doesn't actually seem to have a heart at all.
  21. This crude comedy delivers on the "No Shame, No Mercy" threats from the original. Unfortunately, it all adds up to "No Good."
  22. Just a parade of scattershot gags, more often weird than funny an dmost often just flat. [13 Dec 1996, p.C5]
    • The New York Times
  23. A lumpy three-and-a-half-hour glob of Civil War history.
  24. Summer is like an episode of the religious children's series "Davey and Goliath," without the entertainment value of animation and a talking dog.
  25. Plays every convention twice, once as parody and once by the book, but the movie, trying to be two things at once, fails at both.
  26. Mr. Jones, who recently starred in "Zig-Zag," a similarly striving, overwrought picture, is a disciplined and likable performer, and he bravely perseveres in the face of narrative absurdity and rampant overacting.
  27. It's an oddity that will be avoided by millions of people, this new Pinocchio. Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
  28. The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
  29. The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
  30. A ski party movie in which the clothes are a little more revealing than they were 35 years ago, the practical jokes are a little more tasteless, and the uncertainty over sex is pretty much nonexistent.

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